For best experience, view in full screen
We recommend reading BLUR in full-screen
mode, especially when viewed on a PC. This
removes the PDF reader controls and sets the
background canvas to black. However, if you
use a very high resolution monitor, you might
experience a slight reduction of quality of the
displayed images when viewing in full screen.

Interactive elements in BLUR issues
Tablet and smartphone devices offer various ways of previewing PDF documents, but not all support
the full feature set of interactive elements used by BLUR. For best viewing pleasure on the iPad and
similar devices, please install the free Adobe Acrobat Reader app from your App Store.
Starting with issue 29, BLUR’s interactivity features and hyperlink support have been optimized for
viewing on tablets and smartphones as well as the PC. Some of these optimizations include:
• The Contents page features large buttons for elegant navigation to a certain page, while the
Home hyperlink is the simplest way to get back to Contents.
• Gallery 36 contains interactive thumbnails that open the image in full size, while the full size
images hyperlink back to the gallery.
• Every section of the magazine that features an author now has a dedicated hyperlink button
to navigate the reader directly to the promoted author’s webpage.
• The upper third of every page in BLUR is a hyperlink leading back to the Contents, while tapping the left and right edges of the screen enables you to browse through the magazine.

CELEBRATING FIVE YEARS
OF BLUR MAGAZINE

2

BLUR magazine is published by Photography Association CREATUS (F.U.C.*), a nonprofit association founded in August 2009 with
the aim of contributing to the development of the photography scene in Croatia, while promoting and connecting Croatian
photographers with their international colleagues.

Parental advisory
Artistic and educational photographic discoveries in BLUR Magazine often feature artistic imagery that might not be suited
to underage children. Although none of the content featured in BLUR could possibly be regarded offensive, it does contain
artistic nude photography which is an integral part of photography since its beginnings. We recommend that minors explore
the content under adult guidance.

Publishing and distribution of
‘’Blur magazine’’ is supported by
Zagreb City and City Office for
Education, Culture and Sports

3

A WORD FROM THE EDITOR

photo: Borut Peterlin

O

ver the last few months, the BLUR team has been
working hard and probably under more pressure than
ever before. On the eve our fifth anniversary, things
started to get complicated really quickly. It wouldn’t be honest
of me to claim it was completely unexpected; however, I did
expect certain events to occur a bit further down the line.
As with everything in life, the future always finds a way to
creep up sooner than we think. For reasons still unknown to
us (well, we’re being modest), the number of downloads of
our free issues skyrocketed toward the end of 2012, putting
us between a rock and a hard place. Our small server began
to crash under the influx of tens of thousands of requests,
reaching our bandwidth caps and resulting in frequent
downtime, which is unacceptable for a digital magazine of any
kind, let alone one that serves gigabytes of photo-heavy PDF
downloads. We tried switching to Dropbox, but we reached
bandwidth caps in mere days, and all other solutions seemed
temporary at best.

After five years, there was simply little left to give. The rest
of the story you know: BLUR decided to find a rather drastic
solution for this crisis; we reached out to you.

Huge readership is a reason to celebrate for any magazine,
and yet there we were, completely dead in the water with no
finances, relying only on server space borrowed from friends
to distribute free material in the midst of a financial crisis
eating away at the savings and morale of most of the team.

And we’ve started immediately.

Implementing a payment system that allowed our readers to
freely donate $1.00 or more to download our issues proved to
be one of the best decisions we’ve ever made. Although the
influx of cash was modest in these first two months, not only
did it give us breathing room in terms of server resources and
save us from closing down entirely, but it also gave us new
wings and a much-needed morale boost. Although it’s too
early to make any financial plans, as much of our readership
still needs to come to terms with the new order of things,
there is reason for optimism. We’ve invested as much as we
can to expand, showing that we’re not here for the profit but
to offer a better BLUR experience to a wider international
audience as well as to grow into a bigger promotional
platform for even more photographers in search of exposure.

As soon as we were able, we launched a completely new,
special edition called BLUR Gallery 2012, which is freely
available for download from our website. Also, you might
have noticed that this issue came out a month early. There’s

nothing wrong with your calendar—indeed, we’re going to
ramp up production to a bi-monthly cycle, churning out at
least six issues in 2013. Our new issues have been redesigned
and optimized for viewing on the iPad and other tablets.
We’ve increased the amount of whitespace, enlarged the font,
enlarged all hyperlinks and improved the navigation. We’ve
expanded Gallery 24 into Gallery 36 and introduced three
new editorials covering photography genres previously less
prominent in BLUR. And as a cherry on top, we’re now able
to afford a proper dedicated web server and are working on
a brand new website that will be launched in the coming
weeks, equipped with a responsive HTML theme compatible
with PCs, tablets, and smartphones alike. And that’s just the
beginning; we’re preparing to launch many more surprises
from this upgraded platform in the coming months.
In a way, you could say that, thanks to you, we get to thank
you even more—by giving you more of what we do best:
great photography, more accessible, more often.
So let’s keep those shutters clicking.

Robert Gojević

4

impressum
Robert Gojević

founder | chief editor | design | art director | desktop publishing

Michael McAllister

proofreading

e-mail: robert.gojevic@blur-magazine.com

Ivan Pekarik

acting executive editor | PR

Dario Devčić

programmer | web developer

e-mail: ivan.pekarik@blur-magazine.com

Željka Hubak

marketing and PR

Želimir Koščević

expert associate

e-mail: zeljka.hubak@blur-magazine.com

Denis Pleić

columnist | translator

Igor Kalendaric

e-mail: igor.kalendaric@blur-magazine.com

e-mail: denis.pleic@blur-magazine.com

Maurício Sapata

editor of Pinhole & Playstick

motion graphics+composting

Zsolt Scheffer

Blur collaborator and Japanese translator

e-mail: mauricio.sapata@blur-magazine.com

5

Erin McGuire

PLAYSTICK

Andrea Tonellotto

INSTANTION

Ed Ross

WET PLATE

ulien Mauve &
Pauline Ballet

PROJECT

Eolo Perfido

CLOSE UP

Mohammadreza Rezania

GALLERY 36

7

Simon Lalia

PROEYECT

Yurian Quintanas Nobel

OPEN

Deon Reynolds

WIDE

Yury Bird

TETRA

Mika Kitamura

ANALOG
WABI SABI

Victor Senkov

PINHOLE

8

February | April | June | August | October |

December | 2013

1

COVER PAGE

5

IMPRESSUM

73

PROJECT
Julien Mauve & Pauline Ballet

132

PINHOLE
Victor Senkov

186

OPEN
Yurian Quintanas Nobel

2

INTERACTIVE ELEMENTS

6

CONTENTS

90

WET PLATE
Ed Ross

144

ANALOG WABI SABI
Mika Kitamura

201

PROEYECT
Simon Lalia

3

BLUR INFO

9

GALLERY 36

108

INSTANTION
Andrea Tonellotto

159

TETRA
Yury Bird

4

A WORD FROM THE EDITOR

CLOSE UP
Eolo Perfido

119

PLAYSTICK
Erin McGuire

171

WIDE
Deon Reynolds

CONTENTS

49

6

What made you decide to do nude
photography using the wet plate
process? What was the most
interesting aspect for you?
It was never “a decision,” in a narrow
sense. I’ve been shooting nudes for a
long time and some years back wanted to
try wet plate. When I did, I was hooked.
I love the slow, deliberate nature of the
process and, of course, the unique look of
the plates.

Is there anything in the whole process
you would change if you could?
Is there anything annoying in the
process, or do you simply enjoy it
exactly as it is?
Wet plate photography is relatively
difficult to do well consistently. And by “to
do well” in this context, I mean to create
plates with good contrast and artifactfree, or “clean.” The literature, historic
and modern, is replete with “problem
solving” recipes for one ailment or
another. I have had my fair share of headscratching problems. Those problems
are a frustration when you are trying to
work your way through to a resolution,
especially when they are spoiling a shoot.
But there is also satisfaction in that
problem-solving process. No, I would not
change a thing.

GALLERY 24

Despite the recent popularity of
wet plate, there are still not many
photographers using the process,
and only very few do nudes. I’d say
we could count them on one hand.
How do you feel about that, and is it,
perhaps, also one of the reasons why
you do what you do?
I think the vast majority of current wet
plate practitioners are hobbyists, and
most of them are not doing nudes. Of
the more limited group of practitioners
that I might consider “committed” to the
method, whether hobbyist or professional,
I think “nudity” is pretty well represented.
For example, two of your seven past wet
plate contributors to this magazine focus
on nudes. Once you throw me in, it’s up
to three-eighths. And I think that’s great.
But your greater point remains true – in
the grand scheme of photography, there
are relatively very few that do wet plate
nudes. Do I strive to be in that niche?
No. I’m driven by a passion to shoot what
I love using a method I love.

What kind of future do you
foresee for the process,
given the current state
of affairs in the world of
photography?
I foresee a continued increase
in popularity, but I think it will
always remain at the margins
given the practical difficulties
associated with the process.

by Robert Gojević

BLUR magazine | ISSUE 29 | February 2013

10

6

Blue
Dimitri Bogachuk
http://dimitribogachuk.com
Ukraine

7

Lady In Red
Mohammadreza Rezania
http://www.sensecreator.com
Iran

Close-up | brings readers closer to a photographer by providing extensive insight into his work. The photographer is
presented through a wide selection of photographs, a detailed interview, and by highlighting important biographical
information. Imagine talking with a photographer whom you admire over a cup of coffee. This is exactly what BLURâ&#x20AC;&#x2122;s
editor-in-chief does in this sectionâ&#x20AC;&#x201D;virtually, of course.

49

by Robert GojeviÄ&#x2021;

EOLO PERFIDO
Inspiration is everywhere

http://eoloperfido.com
represented by Sudest57.com

Italy

BLUR magazine | ISSUE 29 | February 2013

50

>

ence of the campaign. Personally, I don’t find
it any more challenging to take photos of a
woman over taking photos of men. What I
find really interesting is to always bring out
the hidden potential they’ve got, no matter
who the subject is. Everybody deserves a
well thought out portrait, since the secrets
and potential for a good photo can be found
in everyone, and bringing out that emotion
is the key to a great portrait.
In my own experience, women have more
facial expression; they get into the modeling role easier, and they love being photographed, while male models like this
are harder to find. We’re talking about
amateur models, but I’ve had a chance to
see how many faces a professional model
can have. What are your own experiences
with this, and are your models amateurs
or do you find them through agencies?
I’m comfortable with both professional
models and those who are just starting out.
When I’m working on an advertisement
campaign, as you might know, the models
are almost always professionals. And in most
cases, the difference is quite obvious. The
professional models are used to spending
long hours in front of the camera and know
how to pace themselves throughout the
shoot. They are aware of their strengths and
know how to highlight them, helping the
photographer do his job.

How important is costume design as an
element of a good photo? I am personally
enchanted by your clowns, so I have to
ask, did you have professional help with
this series?
Even in this case, there’s quite a difference
between advertising jobs, where I often
get help from professional stylists, and my
personal work. In my own creative photo
shoots, I personally choose costumes and
build the sets. I often draw some sketches
beforehand and then spend a lot of time
at flea markets and shops looking for old
clothes and costumes. I also personally
choose hair and makeup. The make up artist behind the Clownville series (along with
many other projects and series) is Valeria
Orlando. I’m very grateful for the intuition,
sensibility, and the amazing technical quality
that she has demonstrated over the years.

How much do you allow for
external elements to affect
your vision? Could you say
that you are open to new
ideas, or do you prefer to set
your goal and not stray from
it until your idea is completely
executed?
I used to be more focused on
defining every single detail, but
these days I let myself be fascinated by all the random things
that happen during shooting. I
also try to preserve my energy
by keeping a little distance from
all the organizational dynamics.
It’s probably because my mind
searches for stimulation and is
on the lookout for new ways to
enjoy this profession, with curiosity, where unpredictability
lies.

BLUR magazine | ISSUE 29 | February 2013

>

52

BLUR magazine | ISSUE 29 | February 2013

69

Project | is a section that presents a photographer through a series of photos united by a particular theme that works
as a cohesive whole and is elaborated on by an artist statement.

73

by Robert GojeviÄ&#x2021;

JULIEN MAUVE
&
PAULINE BALLET
Hopeless Romantic

http://julienmauve.com/HopelessRomantic/
France

BLUR magazine | ISSUE 29 | February 2013

74

BLUR magazine | ISSUE 29 | February 2013

77

BLUR magazine | ISSUE 29 | February 2013

78

PLA

W

WET PLATE is a section dedicated to an antique photographic process discovered in the mid 19th century, which was
also a primary photographic method used until the 1880s. It refers to a process of pouring a solution collodion onto a
plate of thin iron or glass, then placing the plate into a camera and exposing it to the light and, at the end, developing
that plate while it is still wet, which is the reason of naming the process (and our section) â&#x20AC;&#x153;wet plateâ&#x20AC;?. The images resulting from this process can be ambrotypes, glass negatives or tintypes. Although quite a demanding, expensive and lengthy process, wet plate collodion technique is gaining back its popularity among many contemporary photographers.

90

W

PLA

by Robert GojeviÄ&#x2021;

ED ROSS
to do well

http://edrossphotography.com/
USA

91

What made you decide to do nude
photography using the wet plate
process? What was the most
interesting aspect for you?
It was never “a decision,” in a narrow
sense. I’ve been shooting nudes for a
long time and some years back wanted to
try wet plate. When I did, I was hooked.
I love the slow, deliberate nature of the
process and, of course, the unique look of
the plates.

Is there anything in the whole process
you would change if you could?
Is there anything annoying in the
process, or do you simply enjoy it
exactly as it is?
Wet plate photography is relatively
difficult to do well consistently. And by “to
do well” in this context, I mean to create
plates with good contrast and artifactfree, or “clean.” The literature, historic
and modern, is replete with “problem
solving” recipes for one ailment or
another. I have had my fair share of headscratching problems. Those problems
are a frustration when you are trying to
work your way through to a resolution,
especially when they are spoiling a shoot.
But there is also satisfaction in that
problem-solving process. No, I would not
change a thing.

Despite the recent popularity of
wet plate, there are still not many
photographers using the process,
and only very few do nudes. I’d say
we could count them on one hand.
How do you feel about that, and is it,
perhaps, also one of the reasons why
you do what you do?
I think the vast majority of current wet
plate practitioners are hobbyists, and
most of them are not doing nudes. Of
the more limited group of practitioners
that I might consider “committed” to the
method, whether hobbyist or professional,
I think “nudity” is pretty well represented.
For example, two of your seven past wet
plate contributors to this magazine focus
on nudes. Once you throw me in, it’s up
to three-eighths. And I think that’s great.
But your greater point remains true – in
the grand scheme of photography, there
are relatively very few that do wet plate
nudes. Do I strive to be in that niche?
No. I’m driven by a passion to shoot what
I love using a method I love.

What kind of future do you
foresee for the process,
given the current state
of affairs in the world of
photography?
I foresee a continued increase
in popularity, but I think it will
always remain at the margins
given the practical difficulties
associated with the process.

PLA

BLUR magazine | ISSUE 29 | February 2013

W

92

PLA

BLUR magazine | ISSUE 29 | February 2013

W

102

INSTANTION is a section dedicated to instant analog photography. The name of this se-ction combines the words
instant and station, or as we call it, a place for instant photography. Instant photography refers to any photographic
process that allows photo development without the darkroom. Instant photography was developed in the 1930s by
Edwin Land, founder of the Polaroid Corporation. Because of its popularity, most of the photographers in this section
use Polaroid film, but artists using Impossible or Fuji instant film are certainly welcome.

BLUR magazine | ISSUE 29 | February 2013

108

by Jennifer Rumbach

Andrea Tonellotto
nobody. is there anybody out there?

http://www.andreatonellotto.com/
Italy

BLUR magazine | ISSUE 29 | February 2013

109

Please tell us something about yourself.
(Name, age, where you come from? Are
you a professional photographer? What
you do besides photography? A small
introduction!)
My name is Andrea Tonellotto, and I was
born in 1974. I live in Piazzola Sul Brenta,
province Padova. I’m married to Chiara and
the father of a beautiful baby girl named
Margherita. My other great passion, in
addition to photography, is rugby. I work in
construction design, although my goal, in a
short time, is to dedicate myself totally to my
photo projects.

How and when did you start with
photography? And when was the first
time you discovered Polaroid materials?
I liked making pictures since I was very
young, taking hundreds of photos in all my
travels and on all occasions that presented
interesting situations. Then one day, taking
“random” photos was no longer enough.
And thanks to “the match” with my first Leica
(a used M6), I started to shoot with a project
in mind. Photos had to be connected, part of
a novel, no more single episodes. So I began
to experiment with digital and medium
format. The steps were made quickly. But
I felt that something was missing with
medium format. In that moment Polaroid
came to the stage. The instant shot gave the
format that magical atmosphere that only
Polaroid, and now Impossible, is able to give.
But I have to say that I had my first meeting
with Edwin H. Land’s products when I saw
family photos. Very typical of my generation.
Everyone had a Polaroid camera sitting
around the house at the end of the 70s or
early 80s!

Which Polaroid material do
you like the most and why?
My favorite Polaroid camera
is the original SX-70: its
manageability and simplicity
are essential for a lazy person
like me! For film, my vote goes
to TZ-Artistic. Its colors and
atmosphere create a lot of
emotion for me … pure magic.

BLUR magazine | ISSUE 29 | February 2013

110

INSTANTION
by Jennifer Rumbac
Copy editor: Michael McAllister

118

PLAYSTICK is a section dedicated to â&#x20AC;&#x153;toy cameraâ&#x20AC;? photography. The name Playstick comes from a well known
simplified male figure illustration called Play Stick. The name also contains the word plastic as an association to plastic
(or toy) cameras like Diana, Holga, Lomo LC, Lubitel, and others.

119

by MaurĂ­cio Sapata

ERIN McGUIRE
On the Surface

http://erinmcguirephotography.com/
USA
On The Surface is a new and ongoing body of work that explores my feelings
of deception and abandonment. The recent discovery and diagnosis of a lifethreatening illness for a beloved family member, along with the realization that the
illness had gone unnoticed for some time, has forced me to look at my life and my
work in a new way. These images of abandoned homes are digital composites
made from Holga negatives to intentionally deceive the viewer. How the deception
manifests itself is left to the personal history, emotions, and imagination of the
individual viewing the image.

BLUR magazine | ISSUE 29 | February 2013

120

122

123

PINHOLE | is a section, as its name says, dedicated to pinhole photography. This type of photography is created
with a pinhole camera, a camera that uses a small aperture, usually the size of a pinhole, instead of a lens. Basically,
the smaller the hole, the sharper the resulting image. Because of their simplicity, pinhole cameras are often handmade. The concept behind the pinhole cameraâ&#x20AC;&#x201D;the camera obscuraâ&#x20AC;&#x201D;dates back to the time of the ancient Greeks
and Chinese. It was even mentioned by great thinkers like Aristotle, Euclid, and Mo Jing. However, the first photograph created with a pinhole camera was by a Scottish scientist, Sir David Brewster in the 1850s.

132

by Maurício Sapata

VICTOR SENKOV
Legacy

http://portfotolio.net/viktarsenkou
Belarus
I mostly used medium format cameras and was never interested in pinhole
photography before. When I had my Bronica stolen, I ordered a new camera.But
for a month I had only an old Lubitel in my hands. I decided to make a pinhole on
its base. The idea was to use it independent of the main glass waist level finder. It
took about an hour to remove the glass, cut a plate from a can, and make a hole
with a needle and hammer. I didn’t make any calculations. It was a pure act of
creation. I used different types of film, however, the most beautiful and interesting
results, in my opinion, were created by vintage 30-year-old Soviet “Svema.” The
formula was found: the worse the film, the better the result. The broken structure
of old film separates the image from reality, making us forget about the time. I’ve
shot pinhole for six years now, and it still surprises me and gives me pleasure.

133

134

136

ANALOG WABI-SAB | is a concept in Japanese aesthetics characterized by simplicity, asymmetry or irregularity,
unpretentiousness, tranquility, imperfect quality and love of old, weathered objects â&#x20AC;&#x201C; all leading to a meditative appreciation of the impermanence and transience of things, with overtones of desolation and solitude. In this regard, it is
also closely related to another Japanese concept, mono no aware, which describes a â&#x20AC;&#x153;gentle sadnessâ&#x20AC;? for the transience
(and beauty) of things. Therefore, Analog Wabi-Sabi is a section which presents analog photography through the wabisabi prism and perspective, with particular emphasis on Japanese photography and photographers.

144

by Denis Pleić

KITAMURA MIKA
Penumbra

http://www.mikakitamura.com/
Japan
As I look at photographs, what comes to my mind is always the same: what is it
that’s not there? What is it that the photographer chose to omit? Thinking about
these things helps me to see the photographs a little bit more precisely. The next
thing I consider is that we live surrounded by the enormous number of things that
we did not choose, as opposed to the things that we did. How is it that we don’t
see/choose them? This is exactly how we reach the point of seeing/choosing, by
permission and not through refusal.

BLUR magazine | ISSUE 29 | February 2013

145

BLUR magazine | ISSUE 29 | February 2013

155

BLUR magazine | ISSUE 29 | February 2013

156

TETRA | is a section dedicated to a specific type of photography: black and white, square-format images that are
recognizable for their minimalism and high aesthetic value, often making use of long exposures. The section name
comes from the Greek word for the number four, which symbolizes the four equal sides of the format.

159

by Robert Gojević

YURY BIRD
meditative minimalism

http://yurybird.com/
Ukraine
I was born in 1972 in Skadovsk, Ukraine. My entire childhood was spent near
the sea, which resulted in an abundance of scenic photographic themes, such
as seascapes and sky. I was educated in Dnepropetrovsk, where I live and work.
Long exposures, sharp light transitions, meditative minimalism, and a theme of
loneliness – all come together in my photographic style. I don’t have any heroes in
photography, but I really enjoy the masterpieces of Ansel Adams, Michael Kenna,
and David Fokos. In some ways, I could call them my teachers. I prefer works
in black and white, but I also work joyfully with color as well. Photography is a
lifestyle, a form of self-expression, and a meditation, while at the same time it’s
sorrow and gladness.

BLUR magazine | ISSUE 29 | February 2013

160

161

162

WIDE | section devoted to promoting landscape photography. This section strives to expand our presentation of these kind of photos, which have been somewhat underrepresented in BLUR magazine in their classical form. Sometimes
it seems that landscape photography isn’t very creative because it relies mostly on Nature’s beauty and is, therefore,
more technical than artistic. In this section we want to prove that human creativity, indeed, plays a major role in capturing the beauty of Nature in its full glory. Since “landscape photography” is a rather general term, we will try to present
various approaches to this genre in this section, regardless of techniques used.

BLUR magazine | ISSUE 29 | February 2013

171

WHERE COWBOYS ROAM
Investigating and documenting the
rich history of the American West
has become a passion of mine.
What appears to be a desolate,
abandoned, corral most of the time,
comes to life in the Spring when
cattle are gathered and the annual
ritual of sorting and branding occurs.
I am drawn to the stark landscape of
the Great Basin where ranching still
happens the old fashioned way.
My father was a prolific artist and
Portland Art Museum instructor of

drawing and design. He shaped my
art path through art history and
constant practice. I am influenced
by painters Klee, Matisse, Miro, and
Modigliano.
I create these images with a
plastic camera. Its simplicity and
spontaneity allows me to be more
emotionally responsive to my everchanging environment. My camera
of choice is a Kodak Fun Saver
Panoramic 35 disposable camera.
I recycle the cardboard cover,

remove the color film and modify
the interior. Using a darkroom tent,
I reload the camera with Tri-X black
& white film. I use filtration while
shooting and adjust aspects of
processing to maximize the film’s
potential. Photographs are made on
Hahnemuhle Fine Art Pearl paper
with archival pigment inks.

by Robert Gojević

DEON REYNOLDS
where cowboys roam

http://www.deonreynolds.com/
USA

172

BLUR magazine | ISSUE 29 | February 2013

173

WIDE
by Robert GojeviÄ&#x2021;
Copy editor: Michael McAllister

185

OPEN | section in which we try to widen our horizons by crossing the boundaries of themes we’ve emphasized in
BLUR during the past few years. This section will host street, documentary, concert, experimental, and other types of
photography, and even photo manipulation. The creative approach is still the most important aspect in choosing photographers, but we will show preference for those who could be described as “different.”

186

by Robert GojeviÄ&#x2021;

YURIAN QUINTANAS NOBEL
GRABARKA: Between Earth and Heaven

http://www.yurianquintanas.com
Netherlands / Spain
Every year, on the 19th of August, thousands of Orthodox, moved by faith, flock
to the holy mountain of Grabarka to celebrate the Transfiguration. Many of them
arrive on foot, on their knees or carry the traditional Orthodox cross for many miles
as a sacrifice to God. On their arrival, the pilgrims place their crosses into the
ground and start to pray. They continue their prayers throughout the night, hoping
to receive health for themselves and their families and salvation for their dead
ancestors.

BLUR magazine | ISSUE 29 | February 2013

187

GRABARKA: Between Earth and Heaven

Every year, on the 19th of August, thousands of Orthodox,
moved by faith, flock to the holy mountain of Grabarka to
celebrate the Transfiguration. Many of them arrive on foot, on
their knees or carry the traditional Orthodox cross for many
miles as a sacrifice to God. On their arrival, the pilgrims place
their crosses into the ground and start to pray. They continue
their prayers throughout the night, hoping to receive health
for themselves and their families and salvation for their dead
ancestors.
The Holy Mount of Grabarka, also known as “The Mountain
of the 6000 Crosses,” is the largest center of worship for
the Orthodox community in Poland. The story goes that
in the 18th century, a man suffering from cholera had a
dream and put a cross on top of the mountain and was
miraculously healed. Since that day, people have not stopped
carrying crosses to the sanctuary, and, year after
year, the mountain has been filled with thousands
of them. Grabarka is a place full of
mysticism and spirituality, a sacred place that, for its devotees,
serves as a link between the world of the living and the dead.
Death in human society
The concept of death as an end or as a transition, the idea of
immortality and the belief in an afterlife, appear in one form or
another in practically all societies and times of history.
Death is a daily fact, implicit in life, and is possibly the only
certainty that humans have. However, the idea of death remains
remote and is even avoided by most people, and just the
mention of it is considered taboo. It is essentially considered
a personal failure, and it fills us with fear, pain and suffering
because we don’t know how to react to it or accept it as
natural. This is where we find religion, myths, and the different
belief systems which can give hope to people facing this great
mystery: death.

BLUR magazine | ISSUE 29 | February 2013

188

BLUR magazine | ISSUE 29 | February 2013

189

PROEYECT | is a little brother to the PROJECT section. Its purpose is to present mini projects, i.e. sets of photos, which
are too few to included under PROJECT, but by their quality, unified theme, and story, deserve collective publication.
Photographers often tell a kind of story through several photos, and this is the place for such stories. The number of
photos is not a primary concern, so in this section, we may publish several unrelated stories.

201

by Robert GojeviÄ&#x2021;

SIMON LALIA
last meal

http://simonlalia.com/
Germany
The last meal is a customary part of a condemned prisonerâ&#x20AC;&#x2122;s last day.
photographed on expired polaroid film and written on dried up polaroids with an
olivetti war model typewriter